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Crosby, Stills, Nash
More later. We get two articles because WP was foolish enough to redirect the Crosby, Stills & Nash title Crosby, Stills & Nash (CSN) have been, became not, became again, became not, and may yet become again, although probably not, a vocal folk rock (WP) supergroup (WP) made up of American singer-songwriters David Crosby (WP) and Stephen Stills (WP) and English singer-songwriter Graham Nash (WP). Canadian (WP) singer-songwriter Neil Young (WP) joins the band on occasion as a fourth member, which configuration is known as Crosby, Stills, Nash & Young (CSNY). CSNY are noted for their intricate vocal harmonies, political activism, and lasting influence on music and culture, particularly counterculture (WP), particularly of the 1960s (WP). However, coverage of the band comes in two parts, even if in the same article. They are also noted for their often tumultuous interpersonal relationships, for example, which one might hope would be no one's business but theirs and unscrupulous tabloids. One will see acclaim and enthusiasm for their musicianship and unflinching adherence to the ethically and culturally sound hippie ethos. And one will see vendors of titillation, with tales utterly uninhibited by normal standards of biography; running the gamut from jocular through dismissive to savage. This can be clearly seen in parts of the following article that come from Wikipia, which do not merely break but disintegrate inexorably in passing, the Biographies of Living Persons (BLP) rule as if it wasn't there, with hubris such as noting a band member's "megalomania" (with a link to the medical condition). Music press yarn-spinning about sex and drugs is presented as a given, without regard to reliability of information, let alone BLP. To be fair, there is one joke about CSNY which is impossible to miss, difficult to work around, and arguably funny, which is in the first sentence of this article. CSNY were the original "band that keeps breaking up, promises never to get back together, gets back together and then breaks up again and promises another reunion that may never happen", even if 90% of such hype is manufactured by the press. They have not made a group studio album since the 20th Century, and are inactive as of 2019. Whether or not this break is permanent remains to be seen, as the group has often been inactive for years at a time. Crosby, Stills & Nash were inducted into the Rock and Roll Hall of Fame (WP) and Neil Young has been inducted as a solo artist. All four members were also inducted for their work in other groups (Crosby for the Byrds (WP), Stills and Young for Buffalo Springfield (WP) and Nash for the Hollies (WP)). Political activism (WP) opening their Monterey set with "For What It's Worth", inspired as a protest against a curfew for young people in Los Angeles]] CSNY's music, even more so than the former bands of their constituent members and many of their contemporaries, reflected the tastes and viewpoints of the counterculture in the late 1960s (WP) and 1970s. The group (and Crosby in particular) made their political feelings clear on many issues, including the foremost and, in a post-McCarthy decade, most dangerous issue: protest against the Viet Nam War (WP), more than a decade old in 1970 (WP). The song, "Ohio", was written in response to the deaths of four students (WP) at Kent State University. The students were shot by Ohio National Guardsmen during an anti-war protest on the campus in May 1970. (WP), Tom Bray, Stephen Stills (WP), Neil Young (WP), Rick Rosas (WP), and David Crosby (WP). A giant helmet isn't unequivocally a, "Universal Soldier" (WP) statement, but CSN writes and performs protest songs (WP), and in their 2006 tour, performed songs against the war in Iraq] (WP)]] The release of "Ohio (WP)" marked the boldest musical statement made to that date, against a backdrop of COINTELPRO (WP) covert operations and open police brutality and murder of activists against the Viet Nam War (WP). The song called to all, and many responded to it calling out Richard Nixon (WP) by name. "Ohio" voiced the counterculture's rage and despair at the events. The band has been continuously associated with political causes throughout its existence, the latest example being the song "Almost Gone (The Ballad of Bradley Manning)" which focuses on the length and conditions of Chelsea Manning (WP)'s pre-trial confinement. Crosby, Stills, and Nash, with and without Young, left a major imprint in terms of both business practices and on the course of the rock and roll during their 1970s heyday. The flexibility and recombitant aspects of their aggregation forced the record companies to accommodate their dictates, rather than the other way around as was still often the norm, shifting the balance of power in the industry a bit more toward the performers, even though that shift did not become permanent. They utilized their visibility as a platform to speak out against injustices, said practice very much a product of their time but still a relatively new phenomenon, far riskier in their day than now. An entire subset of popular music arose in their wake, various topical and personal singer-songwriters embracing the 1960s Haight-Ashbury/Laurel Canyon social and political values the group transmitted into the 1970s. However, they later became targets of the first wave of Generational scapegoating: punk ire and post-punk sarcasm by those who focused on their excesses (largely the same as successful Punk bands) and ignored their activism. To these critics, even loud and insistent cries against war were insufficient; one had to not Sell Out. Wikipedia: "embodying the hippie hypocrisy of preaching social equality while being shuttled around by jet and limo." - where's my limo!.Also sounds like one of the more Libertarian or Anarcho-capitalist sort of punks. Between "Ohio", their appearance in both the festival and movie of Woodstock (WP), and the runaway success of their two albums, the group found themselves, at the beginning of the 70s, in the position of enjoying a level of adulation far greater than experienced with their previous bands. They received twenty-seven Platinum certifications across seven albums. Despite their estrangement, Crosby, Nash, and Young were all vocal in their support for 2016 Democratic Presidential candidate Bernie Sanders (WP). History |[[Wikipedia:country rock]] |Wikipedia:soft rock }} | years_active = 1968–1970, 1973–2015 | label = Atlantic, Reprise | associated_acts = Wikipedia:Crosby & Nash, The Stills-Young Band, Wikipedia:Buffalo Springfield, Wikipedia:The Byrds, Wikipedia:The Hollies, Manassas, Wikipedia:The Rides, CPR | website = | current_members = Wikipedia:David Crosby Wikipedia:Stephen Stills Wikipedia:Graham Nash Wikipedia:Neil Young }} Formation and initial success Prior to the formation of CSN, each member of the band had belonged to another prominent group. David Crosby played guitar, sang and wrote songs with Wikipedia:the Byrds; Stephen Stills had been a guitarist, keyboardist, vocalist and songwriter in the band Wikipedia:Buffalo Springfield (which also featured Wikipedia:Neil Young); and Graham Nash had been a guitarist, singer and songwriter with Wikipedia:The Hollies. Due to internal friction, Crosby was dismissed from the Byrds in late 1967.Zimmer and Diltz, p. 54 By early 1968, Buffalo Springfield had disintegrated, and after aiding in putting together the band's final album, Stills was unemployed. Stills and Crosby began meeting informally and jamming. The result of one encounter in Florida on Crosby's Wikipedia:schooner was the song "Wikipedia:Wooden Ships", composed in collaboration with another guest, Wikipedia:Paul Kantner of Wikipedia:Jefferson Airplane.Zimmer and Diltz, p. 65 Graham Nash had been introduced to Crosby when the Byrds had toured the United Kingdom in 1966, and when the Hollies ventured to California in 1968, Nash resumed his acquaintance with him.Crosby and Gottlieb, p. 103 At a party in July 1968 at Wikipedia:Joni Mitchell's house, Nash asked Stills and Crosby to repeat their performance of a new song by Stills, "You Don't Have To Cry", with Nash improvising a third part harmony.Zimmer and Diltz, pp. 72–3 The vocals gelled, and the three realized that they had a very good vocal chemistry. It is disputed by members of the group whether it was at the house of Joni Mitchell or Wikipedia:Cass Elliot. Stephen Stills recalls that it was at the house of Cass Elliot – he would have been too intimidated to sing as a group in front of Joni Mitchell for the first time. Nash and Crosby insist that the location was Joni Mitchell's home. Creatively frustrated with the Hollies, Nash decided to quit the band in December 1968, and flew to Los Angeles two days later. The trio stayed in London in early 1969 to rehearse for what turned out to be an unsuccessful audition with Wikipedia:The Beatles' Wikipedia:Apple Records. However, back in California, Wikipedia:Ahmet Ertegün, who had been a fan of Buffalo Springfield and was disappointed by that band's demise signed them to Wikipedia:Atlantic Records.Crosby and Gottlieb, p. 144. From the outset, given their previous experiences, the trio decided not to be locked into a group structure. They used their surnames as identification to ensure independence and a guarantee that the band could not continue without one of them, unlike both the Byrds and the Hollies. They picked up a management team in Wikipedia:Elliot Roberts and Wikipedia:David Geffen, who got them signed to Atlantic and would help to gain clout for the group in the industry.McDonough, p. 252. Roberts kept the band focused and dealt with egos, while Geffen handled the business deals, since, in Crosby's words, they needed a "shark" and Geffen was it.Zimmer and Diltz, pg. 79 Stills was already signed to Atlantic Records through his Buffalo Springfield contract. Crosby had been released from his Byrds deal with Columbia, as he was considered to be unimportant and too difficult to work with. Nash, however, was still signed to Wikipedia:Epic Records through The Hollies. Ertegun worked out a deal with Wikipedia:Clive Davis to essentially trade Nash to Atlantic in exchange for Wikipedia:Richie Furay (who was also signed to Atlantic by virtue of his membership in Buffalo Springfield) and Wikipedia:Poco, his new band.Robert Greenfield. The Last Sultan: The Life and Times of Ahmet Ertegun. Simon and Schuster. 2011. 202-3. The trio's first album, Crosby, Stills & Nash, was released in May 1969. The eponymously titled album was a major hit in the United States, peaking at #6 on the Billboard album chart during a 107-week stay that spawned two Wikipedia:Top 40 hits ("Wikipedia:Suite: Judy Blue Eyes" #21 and "Wikipedia:Marrakesh Express" #28) and significant airplay on Wikipedia:FM radio. The album ultimately earned a RIAA triple platinum certification in 1999 and quadruple platinum certification in 2001. With the exceptions of drummer Dallas Taylor and a handful of rhythm and acoustic guitar parts from Crosby and Nash, Stills (accorded the moniker "Captain Many Hands" by his bandmates) handled most of the instrumentation (including every lead guitar, bass and keyboard part) on the album, which left the band in need of additional personnel to be able to tour, a necessity given the debut album's commercial impact. Neil Young joins Retaining Taylor, the band tried initially to hire a keyboard player. Stills initially approached virtuoso multi-instrumentalist Wikipedia:Steve Winwood, who was already occupied with the newly formed group Wikipedia:Blind Faith.Zimmer and Diltz, p. 92 Ertegün suggested former Buffalo Springfield member Neil Young, also managed by Elliot Roberts, as a fairly obvious choice; though principally a guitarist, Young was a proficient keyboardist and could alternate on the instrument with Stills and Nash in a live context.Crosby and Gottlieb, pp. 163–4 Stills and Nash initially held reservations; Stills because of his history with Young in Buffalo Springfield, and Nash because of his personal unfamiliarity with Young. But after several meetings, the trio expanded to a quartet with Young a full partner. The terms of the contract allowed Young full freedom to maintain a parallel career with his new band, Crazy Horse. They initially completed the rhythm section with former Buffalo Springfield bassist Wikipedia:Bruce Palmer. However, Palmer was let go due to his persistent personal problems following rehearsals at the Wikipedia:Cafe au Go Go in Wikipedia:New York City's Wikipedia:Greenwich Village; according to Crosby, "Bruce Palmer was into another instrument and his head was not where it should have been."Zimmer and Diltz, p. 94 Teenaged Wikipedia:Motown session bassist Wikipedia:Greg Reeves joined in Palmer's place at the recommendation of Wikipedia:Rick James, a friend of the band. With Young on board, the restructured group embarked on a four-leg, 39-date tour that ended with three European concerts in January 1970. Their first gig was on August 16, 1969, at the Wikipedia:Auditorium Theatre in Wikipedia:Chicago, with Wikipedia:Joni Mitchell as their opening act. They mentioned they were going to someplace called Woodstock (WP) the next day, but (of course, as with almost the whole of the rest of the planet, Wikipedia), they had no idea where that was. Their one-hour second show in the early morning of August 18, 1969, was a baptism by fire at the Woodstock Festival (WP). The crowd of industry friends looking on from offstage was intimidating and prompted Stills to say, "This is only the second time we've performed in front of people. We're scared shitless." Their appearance at the festival and in the subsequent movie ''Woodstock'' film (WP),Neil Young is notably absent from the documentary film. In an interview in 2000 for VH1, he revealed that he objected to being photographed at close quarters, so the cameras avoided him. In February 2019, it was reported that plans to release a restored version of the film would include footage of Young. along with recording the Joni Mitchell song memorializing Woodstock, boosted the visibility of the quartet. CSNY appeared at other prominent festivals that year. Footage from two performances from the Big Sur Folk Festival (WP) (held on the grounds of the Esalen Institute on September 13–14, 1969) appears in the movie ''Celebration at Big Sur (WP). They also appeared at the violence-plagued Altamont Free Concert (WP) on December 6, 1969 alongside Santana (WP), Jefferson Airplane (WP), The Flying Burrito Brothers (WP) and the headlining Rolling Stones (WP). At the band's request, their performance was not included in the ''Gimme Shelter'' film (WP)'' of 1970. Great anticipation had built for the expanded supergroup and their first album with Young, Déjà Vu, which arrived in stores in March 1970. It topped the charts during a 97-week stay in the United States and generated three hit singles, including the Stills-sung cover of Mitchell's "Woodstock" (#11) and both of Nash's contributions ("Wikipedia:Teach Your Children" #16 and "Our House" #30). Certified septuple platinum by Wikipedia:RIAA, the album's domestic sales currently sit at over 8 million copies; as of 2017, it remains the highest-selling album of each member's career. Déjà Vu was also the first release on the Atlantic Records SD-7200 "superstar" line, created by the label for its highest-profile artists; subsequent solo albums by Crosby, Stills, and Nash would be the next releases in this series. In consultation with other band members, Stills fired Reeves from the group shortly before the beginning of their second American tour in April 1970 "because he suddenly decided he was an Apache witch doctor."Crosby, Stills & Nash: The Authorized Biography. Zimmer & Diltz, pp. 124. He further opined that "Reeves freaked too much on the bass and no one could keep up because he did not play one rhythm the same… he could play bass imaginatively, but he has to be predictable as well," while "Greg also wanted to sing some of his songs on the CSN&Y show, which I thought was ludicrous, only because the songs weren't great. We'll sing any song if it's great, but not just because it happens to be written by our bass player." He was replaced by Calvin "Fuzzy" Samuels, a homeless Jamaican musician recently discovered by Stills at Island Records' (WP) London studios. Shortly thereafter, Taylor (who frequently clashed with Young over the band's tempos during the first tour and Déjà Vu sessions) was also dismissed when Young threatened to leave the group following the first performance of the tour at the Denver Coliseum on May 12, 1970. Notwithstanding these previous tensions, Taylor would later assert that his dismissal served as a proxy for renewed conflict between Stills and Young in the aftermath of Reeves' firing. Shortly thereafter, drummer John Barbata (formerly of The Turtles (WP)) was hired for the remainder of the tour and associated recordings. A week before the Denver performance, Young and Crosby were staying at a house near San Francisco (WP) when reports of the Kent State shootings (WP) arrived, inspiring Young to write the protest song "Ohio". Recorded and rush-released weeks later with the new rhythm section, it peaked at #14 in August 1970, providing another American Wikipedia:Top 20 hit for the group.Zimmer and Diltz, p. 127 As the 23-show tour progressed, the tenuous nature of the partnership was strained by Stills' alcohol (WP) and cocaine (WP) abuse and perceived Wikipedia:megalomania, culminating in an extended solo set not countenanced by the other band members at the Wikipedia:Fillmore East when he was informed that Bob Dylan (WP) was in the audience. In this turbulent atmosphere, Crosby, Nash and Young decided to fire Stills during a two-night stint at Wikipedia:Chicago's Wikipedia:Auditorium Theatre in July 1970. Following his reinstatement, the tour ended as scheduled in Wikipedia:Bloomington, Minnesota on July 9, 1970; however, the group broke up immediately thereafter. Concert recordings from that tour assembled by Nash produced the 1971 double album Wikipedia:4 Way Street, which also topped the charts during a 42-week stay. Although they would continue to collaborate in various and largely ephemeral permutations, the four members would not come back together in earnest until their 1974 reunion tour. Shifting configurations Between September 1970 and May 1971, each of the quartet released high-profile solo albums: Young's After the Gold Rush (WP) in September (which peaked at #8 and included his first Top 40 solo hit, "Only Love Can Break Your Heart" #33); Stills' eponymous debut (WP) in November; Crosby's If I Could Only Remember My Name (WP) in February, and Nash's Songs for Beginners (WP) in May. Although all four solo LPs placed in the Top 15 on the ''Billboard'' 200 (WP), Stills' entry (including two Top 40 hits, "Love the One You're With" #14 and "Sit Yourself Down" #37) peaked the highest at #3. Stills was the first to release a second post-CSNY solo album, 1971's Stephen Stills 2 (WP), which included two minor hits ("Change Partners" #43; "Marianne" #42) and peaked at #8. In the fall of 1971, Crosby and Nash embarked on a successful theater tour accompanied only by their acoustic guitars and a piano, as captured on the 1998 archival release Another Stoney Evening (WP). 1972 proved to be another fruitful year for all the band members in their solo or duo efforts. Young achieved solo superstardom with the chart-topping Harvest (WP) and two Top 40 singles, the #1 hit "Heart of Gold (WP)" and "Old Man (WP)" (#31). Stills joined with former Byrd (WP) Chris Hillman (WP) to form the band Manassas (WP), releasing a self-titled double album; although it did not generate any significant hits, counting the three CSN/CSNY records, Manassas (WP) became Stills' sixth Top Ten album in a row, peaking at #4. Nash and Young released Young's "War Song (WP)" as a joint single to support George McGovern (WP)'s presidential campaign; despite their intentions, the single failed to make a serious impression. Meanwhile, Nash and Crosby's touring was so successful and pleasant for them that they recorded and released their first album as a duo, Graham Nash David Crosby (WP), which eclipsed their recent solo efforts with a Top 40 hit (Nash's "Immigration Man (WP)" #36) while also peaking at #4.Zimmer and Diltz, p. 151 The group members fared less well in 1973. Young recorded two dark albums. The first, Time Fades Away (WP), chronicled his winter tour that followed the death of his Crazy Horse bandmate Danny Whitten (WP) from an alcohol/Valium (WP) overdose, a tour Crosby and Nash joined mid-way. A critical success despite his personal misgivings, it attained a RIAA gold certification before stalling at #22. The second album, Tonight's the Night (WP), was so dark that Reprise Records (WP) refused to release it until 1975. Although it is widely regarded as his magnum opus (WP), it only reached #25. Crosby spearheaded and produced a reunion album (WP) of the original Byrds quintet which was a notable critical failure upon its release in March 1973. The most commercially successful Byrds album since 1966, it sold only marginally well by CSNY's standards, peaking at #20. Stills released a second Manassas record (WP) in April 1973 and Nash recorded his second solo album (WP) (released in January 1974); again, neither disc sold to expectations, peaking respectively at #26 and #34. In June and July 1973, Crosby, Stills, Nash, and Young met at Young's ranch in California and a recording studio in Hawaii for a working vacation, ostensibly to record a new album, tentatively titled Human Highway. However, the bickering that had sunk the band in 1970 quickly resumed, scattering the group again. Reconciliation and further estrangement After spontaneously reconvening for an acoustic set at a Manassas concert at San Francisco's Winterland Ballroom (WP) in October, the quartet failed once again to commit to a reunion; however, three days later, the CSN configuration performed an acoustic set at another Manassas Winterland show. Over the next few months, Roberts finally prevailed upon the group to realize their commercial potential, culminating in Stills announcing a CSNY summer tour and the projected studio album at a solo concert in March 1974. The quartet reassembled (WP) in earnest that summer, with sidemen Tim Drummond (WP) on bass, Russ Kunkel (WP) on drums, and Joe Lala (WP) on percussion, to rehearse at Young's ranch near Woodside, California (WP) before embarking on the two-month, 31-date tour. The tour was directed by San Francisco-based impresario Bill Graham (WP). Fresh off the large-scale indoor arena tour he had developed for Bob Dylan (WP)'s return to the spotlight (WP) earlier in the year, Graham interspersed now-routine arena bookings (including Nassau Coliseum (WP) and Capital Centre (WP)) with large-scale concerts that exploited the capacity of baseball (WP) and football (WP) stadia (such as the Oakland–Alameda County Coliseum (WP) and Rich Stadium (WP)), directly presaging the "stadium rock" milieu that was rapidly normalized following the success of Graham's Day on the Green (WP) series. In line with the new scale of the performances, the band typically played up to three and a half hours of old favorites and new songs. Opening acts included such luminaries as Mitchell (who occasionally sat in during the acoustic and semi-acoustic interlude that bridged two electric sets), Santana (WP), The Band (WP), The Beach Boys (WP) and Jesse Colin Young (WP).Zimmer and Diltz, p.; 173 In particular, Crosby was disillusioned by the bombastic nature of the performances, which he collectively dubbed the "Doom Tour": "We had good monitors, but Stephen and Neil were punching well over 100 db from their half stacks. Graham and I simply couldn't do the harmonies when we couldn't hear ourselves. Also, when you play a stadium you almost have to do a Mick Jagger (WP) where you wave a sash around and prance about. I can't quite do that. We did what we could, but I don't know how many people in the audience really got it. A lot of them were there for the tunes. When we'd start them, they'd hear the records." Graham Nash's unreleased film of the Wembley Stadium (WP) show highlights the scope and quality of these performances. They opted at the time not to release any recordings of the tour for an album, with Nash maintaining that "the main feeling at the end of the tour was that we weren't as good as we could have been." (Decades later, to mark the tour's 40th anniversary in 2014, Nash and archivist Joel Bernstein (WP) selected songs from the five shows that had been properly recorded and released CSNY 1974 (WP).) (WP), Old Dominion University (WP), Norfolk VA. (August 17, 1974)]] (WP) While the foursome would have the press believe that their characteristic arguments were a thing of the past, excesses typical to the era took their toll. Under the stewardship of Graham's production company, the tour was plagued by profligate spending, exemplified by a litany of pillowcases embroidered with the band's new Mitchell-designed logo and the routine chartering of helicopters and private jets in lieu of ground transportation. Nash would later recall that "the tour made just over eleven million dollars, which of course was a lot of money in those days. We all got less than a half million each. It was obvious that between Bill Graham, the promoters and a bunch of others, they all had a good time. Let's just put it that way." According to road manager Chris O'Dell, "One time they spilled cocaine on the carpet. They just got down on the floor and sniffed it off the carpet. I just went, 'Oh my God, this is so weird.' I'd never seen anything like it. They probably don't remember that." The relatively abstemious Nash "started taking Percocet (WP) and Percodan (WP). I call them 'I Don't Give A Shit' pills. Someone could have said to me, 'Hey, your leg's on fire.' I would have been like, 'I don't care, man.' We were just up all night. It was insane. I wouldn't recommend it to anybody because the cocaine/quaalude (WP) ride should be in the ride of horrors in the circus." Stills—who befuddled his colleagues by claiming to have participated in clandestine Vietnam War (WP) missions as a member of the United States Marine Corps (WP) during his tenure in Buffalo Springfield—began supplementing his trademark wardrobe of football jerseys with military fatigues. Having embraced a promiscuous lifestyle following the death of Hinton several years earlier, Crosby was accompanied by two girlfriends. This chagrined several employees and band members; according to Nash, "Often I would knock on his hotel door, which he kept propped open with a security jamb, and he'd be getting blown (WP) by both of those girls, all while he was talking and doing business on the phone and rolling joints and smoking and having a drink. Crosby had incredible sexual energy. It got to be such a routine scene in his room, I'd stop by with someone and go, "Aw, fuck, he's getting blown again. Oh, dear, let's give him a minute." Although each member performed new songs that later appeared on solo and duo studio releases, Young premiered over a dozen songs (including several from On The Beach (WP), which was released during the tour) in one of the most creatively fertile phases of his career. Vexed by the diminished prolificacy of the trio, he isolated himself from the group, traveling separately in an RV with his son and entourage. He would later assert to biographer Jimmy McDonough that "the tour was disappointing to me. I think CSN really blew it... they hadn't made an album, and they didn't have any songs. How could they just stop like that?" Atlantic Records issued the compilation So Far (WP) to have something to promote during the tour. While Nash viewed the re-shuffling of items from only two albums and one single (typified by the exclusion of his "Marrakesh Express", a Top 40 hit) as absurd, it eventually topped the Billboard album chart in November.Zimmer and Diltz, p. 176 Although tensions were high between Crosby, Stills and Young, the band reconvened at the Record Plant (WP) in Sausalito, California (WP) with The Albert Brothers (WP) in November to finish the long-gestating follow-up to Déjà Vu. While several songs were completed and recorded (including Young's "Human Highway", still envisioned as the provisional title track; a take of Crosby's "Homeward Through the Haze" with Crosby on piano and Lee Sklar (WP) on bass; and Nash's anti-whaling (WP) opus "Wind on the Water"), Young left once again following a tumultuous argument. While Crosby, Stills and Nash (augmented by a variety of session musicians, including Sklar, Kunkel and Grateful Dead (WP) drummer Bill Kreutzmann (WP)) attempted to complete the album as a trio effort, the feud between Stills and Nash resurfaced, resulting in Stills destroying the master of "Wind on the Water" with a razor blade after Crosby and Nash objected to a harmony part on Stills' "Guardian Angel". Even though Stills characterized the razor blade incident as a joke, the sessions promptly dissolved. Shortly thereafter, Crosby and Nash signed a separate contract with ABC Records (WP) and began to tour regularly again, playing a more intimate array of sports arenas, outdoor festivals and theaters. During this period they produced two studio albums, Wind on the Water (WP) in 1975 and Whistling Down the Wire (WP) in 1976, and the 1977 concert album Crosby-Nash Live (WP). Along with Drummond (retained from the 1974 CSNY tour), they continued to use the sidemen from the ensemble known as The Section (WP) from their first LP. This crack session group (rechristened The Mighty Jitters by Crosby) contributed to records by a myriad of other Los Angeles-based artists in the seventies, such as Carole King (WP), James Taylor (WP), and Jackson Browne (WP). Throughout the mid-70s, Crosby and Nash also lent their harmonies to hits like Taylor's "Mexico" and Joni Mitchell's "Free Man in Paris" (WP)". Meanwhile, Stills and Young returned to their own careers. They briefly united for a one-off album and tour credited to the Stills-Young Band, Long May You Run (WP) (1976). Although the Miami (WP)-based sessions briefly metamorphosed into the third attempt at a CSNY reunion album, Stills and Young wiped the vocal contributions of the other pair off the master tape (WP) when Crosby & Nash were obligated to leave the sessions to finish their own Whistling Down the Wire in Los Angeles.Zimmer and Diltz, pp. 185–6 As Stills and Young embarked on a tour to promote the album in the summer of 1976, the old tensions between the pair resurfaced, exacerbated by Stills' insistence that professional studio musicians back them rather than Young's preferred Crazy Horse. After a July 20, 1976, show in Columbia, South Carolina (WP), Young's tour bus took a different direction from Stills'. Waiting at their next stop in Atlanta (WP), Stills received a laconic telegram: "Dear Stephen, Funny how things that start spontaneously end that way. Eat a peach. Neil."McDonough, pp. 501–2 Young's management claimed that he was under doctor's orders to rest and recover from an apparent throat infection. Stills was contractually bound to finish the tour alone, though Young would make up dates with Crazy Horse later in the year. Having peaked at #6 in 1975, Wind on the Water was the only disc by any permutation of the quartet to chart in the Billboard Top Ten following So Far. Later in 1976, Stills approached the pair at one of their concerts in Los Angeles, setting the stage for the return of the trio. CSN redux Less than a year after reforming, Crosby, Stills & Nash released CSN (WP). Recorded at Criteria Studios (WP) in Miami under the auspices of Ron and Howard Albert throughout late 1976 and early 1977, the album exemplified the meticulously stylized soft rock (WP) production ethos of the epoch and contained the band's highest-charting single, Nash's "Just a Song Before I Go (WP)" (#7); Stills' "Fair Game" also peaked at #43. The album peaked at #2 on the Billboard chart in the summer of 1977 during a 33-week stay, remaining at that position for the month of August and ultimately earning a RIAA quadruple platinum (WP) certification behind one of the best-selling LPs of all time, Fleetwood Mac (WP)'s Rumours (WP). As of 2017, it remains the trio configuration's best-selling album, outselling their debut by 200,000 records. On June 21, 1978, Crosby, Stills & Nash received a star on the Hollywood Walk of Fame (WP) for their contributions to the music industry, located at 6666 Hollywood Boulevard (WP). Hollywood Walk of Fame|website=Walkoffame.com|access-date=2016-12-01}} After successful arena tours in 1977 and 1978, further work as a group was complicated by Crosby's newfound dependence on freebase cocaine (WP). Earth & Sky (WP), a 1980 Nash album, was envisaged as a Crosby & Nash project following aborted 1978 CSN sessions until Nash determined that Crosby was not in shape to participate after his colleague stopped a jam because his freebase pipe had fallen off of an amp and broken.Crosby and Gottlieb, p. 314 Stills and Nash convened in 1980–1981 to record Daylight Again (WP) as a self-funded duo; however, Atlantic Records executives refused to reimburse their expenses or release the LP until Crosby was reinstated.Crosby and Gottlieb, pp. 353–4 Crosby contributed "Delta" (his last original composition for several years) and a cover of Judy Henske (WP) and Craig Doerge (WP)'s "Might as Well Have a Good Time" along with some additional vocals on other tracks. Despite Crosby's condition and the relatively démodé nature of the group in the wake of the ascendancy of new wave (WP) and contemporary R&B (WP), Daylight Again reached #8 in 1982 during a 41-week chart stay. The album contained two major hits, Nash's "Wasted on the Way" (#9) and Stills' "Southern Cross (WP)" (#18); Stills' "Too Much Love to Hide" also charted at #69. While the album ultimately failed to sell as well as its predecessors in the new musical climate, it received a RIAA platinum certification in early 1983. Although the success of Daylight Again inaugurated a new tradition of near-annual touring that persisted for over thirty years, the bottom soon fell out for Crosby, who was arrested and jailed on drug and weapons charges in Texas (WP) in May 1982. Having recorded a potential title song for the film WarGames (WP) that was never used, the band released it as a single and hastily assembled concert recordings around two studio tracks for the album Allies (WP), their lowest-charting record to date. Crosby was sentenced to two terms, but the conviction was overturned; arrested several more times, he finally turned himself in to the authorities in December 1985.Crosby and Gottlieb, pp. 438–9 He would spend eight months in prison. Based on a promise he made to Crosby should he clean himself up, Young agreed to rejoin the trio in the studio upon Crosby's release from prison for American Dream (WP) in 1988. Stills (then battling his own incipient addiction to freebase cocaine) and Crosby (enfeebled by myriad health problems from his fallow period that culminated in a 1994 liver transplant) were barely functioning for the making of the album, and the late eighties production completely swamped the band.McDonough, p. 625 It did make it to #16 on the Billboard chart during a 22-week stay, but the record received poor critical notices, and Young refused to support it with a CSNY tour. The band did produce a video for Young's title-song single, wherein each member played a character loosely based on certain aspects of their personalities and public image. Several years later, CSNY reunited to play the Bill Graham memorial concert ("Laughter, Love and Music") at Golden Gate Park (WP) in San Francisco on November 3, 1991. CSN recorded two more studio albums in the 1990s, Live It Up (WP) (1990) and After the Storm (WP) (1994); both albums sold poorly by previous standards and failed to attain RIAA certifications. A box set (WP) arrived in 1991, four discs (WP) of expected group highlights amidst unexpected better tracks from various solo projects. Owing to certain difficulties, manager Roberts, no longer with the trio but still representing Young, pulled most of Young's material earmarked for the box. Ultimately, nineteen tracks out of the seventy-seven in the set were credited to CSNY. The CSNY version of "Human Highway" leaked to the internet several years later.McDonough, p. 248 In 1994, CSN collaborated with Suzy Bogguss (WP), Alison Krauss (WP), and Kathy Mattea (WP) to contribute "Teach Your Children (WP)" to the AIDS (WP) benefit album Red Hot + Country (WP) produced by the Red Hot Organization (WP). By the late 1990s, CSN found themselves without a record contract. They began financing recordings themselves, and in 1999 Stills invited Young to guest on a few tracks. Impressed by their gumption, Young increased his level of input, turning the album into a CSNY project, Looking Forward (WP). The album was released at Young's behest via Reprise Records (WP) in October 1999. With writing credits mostly limited to band members and Young leveraging the ongoing success of his solo career by ensconcing himself as the first among equals with a plurality of songs, the disc was better received than the previous three albums from a critical standpoint. It also fared relatively well commercially, peaking at #26 (the group's highest chart placement since American Dream) during a 9-week stay. However, in a reflection of the shifting financial landscape of the music industry, Looking Forward was most notable for laying the groundwork for the ensuing CSNY2K Tour (2000) and the CSNY Tour of America (2002), both of which were major money-makers. CSN were inducted into the Rock and Roll Hall of Fame (WP) in 1997; CSNY is the first band to have all its members inducted into the hall twice, although Young was inducted for his solo work (1995) and for Buffalo Springfield (1997). The CSN logo that Crosby, Stills and Nash used from the mid-1970s onward was designed by comedian Phil Hartman (WP) during his first career as a graphic designer. Various compilations of the band's configurations have arrived over the years, the box set being the most comprehensive, and So Far being the most commercially successful. Individual retrospective box sets have also been released. In 2007, David Crosby's Voyage chronicled his work with various bands and as a solo artist. Graham Nash's Reflections appeared in early 2009 under the same auspices, quite near his 67th birthday. The box set for Stephen Stills, Carry On (WP), was released in February 2013. Compilation and oversight of these releases has largely been managed by Nash.http://www.4waysite.com/index5.htm In 2006, Crosby, Stills, Nash and Young set off on their Freedom of Speech Tour in support of Living with War (WP), a Young solo album written in response to the Iraq War (WP). The long setlists included the bulk of the new protest album as well as material from Stills' long-delayed solo album Man Alive! (WP) and recent material (WP) from Crosby and Nash. On May 16, 2006, Crosby, Stills & Nash were honored as a BMI (WP) Icon at the 54th annual BMI Pop Awards. They were honored for their "unique and indelible influence on generations of music makers." In February 2007, CSN were forced to postpone a tour of Australia and New Zealand due to David Crosby's illness.http://www.news.com.au/story/0,23599,21173189-1702,00.html Also in 2006, long-time manager Gerry Tolman died in a car accident. The trio performed "Teach Your Children" on The Colbert Report (WP) on July 30, 2008, with host Stephen Colbert (WP) filling in the fourth harmony (Neil Young's portion) and wearing a Young-mocking outfit and being referred to by Nash as "Neil". In 2009, Crosby, Stills & Nash released Demos (WP), an album made up of demo recordings of popular group and solo songs. In June 2009 Crosby, Stills and Nash performed at the Glastonbury Festival (WP). Stephen Stills was praised for his exceptional guitar playing. Neil Young did not appear onstage with them but did perform as a solo artist. In July 2009, they headlined the 14th annual Gathering of the Vibes (WP) festival. Halfway through their set, they enthusiastically announced to the crowd that they would be back next year. CSN convened with producer Rick Rubin (WP) to record a projected covers album (tentatively titled Songs We Wish We'd Written) under the aegis of Sony Music Entertainment (WP) in 2010; seven songs were completed before the dissolution of the sessions due to the increasingly acrimonious relationship between Rubin and Crosby, who perceived the former as a disruptive and autocratic figure in the creative process. By 2012, CSN had completed five self-produced re-recordings in anticipation of a potential rights dispute over the Rubin sessions with Sony. Crosby, Stills & Nash toured the United States, Australia, New Zealand and Brazil in 2012 and released a 2CD/DVD entitled CSN 2012 (WP) on July 17, 2012. Further tours of the United States and Europe followed in 2013 and 2014. Crosby, Stills, Nash and Young performed an acoustic set at the 27th Bridge School Benefit (WP) on October 27, 2013; as of 2018, the performance is that configuration's final concert to date. CSNY 1974 (WP), an anthology culled from hitherto unreleased recordings of the 1974 tour by Nash and longtime band archivist Joel Bernstein, was released by Rhino Records (WP) on July 8, 2014 to widespread critical acclaim. In a September 2014 interview with the Idaho Statesman (WP), Crosby dispelled rumors of another CSNY tour (citing Neil Young's general unwillingness and lack of financial incentive to perform with the ensemble) before characterizing Young's new partner Daryl Hannah (WP) as "a purely poisonous predator." While introducing a song during a solo performance at the Philadelphia Academy of Music (WP) on October 8, 2014, Young announced that "CSNY will never tour again, ever... I love those guys." Two days later, Crosby confirmed that "Young is very angry with me" and likened Young's remarks to "saying there are mountains in Tibet (WP)." Crosby made further comments, including that he apologized on Twitter (WP). On May 18, 2015, Crosby apologized publicly to Hannah and Young on The Howard Stern Show (WP), saying "I'm screwed up way worse than that girl. Where do I get off criticizing her? She's making Neil happy. I love Neil and I want him happy," and "Daryl, if you're out there, I apologize. Where do I get off criticizing you? There are people I can criticize: politicians, pond scum. Not other artists that have gone through a hard life, same as me. She hasn't had it easy either." Despite the unprecedented tumult between Crosby and Young, CSN embarked on a routine world tour encompassing American, European and Japanese venues in 2015, culminating in a performance of "Silent Night (WP)" at the National Christmas Tree (WP) lighting ceremony at The Ellipse (WP) in Washington, D.C. (WP) on December 3, 2015. However, contrary to a previous November 2015 interview in which he stated he still hoped the band had a future, Nash announced on March 6, 2016 that Crosby, Stills & Nash would never perform again because of his recent estrangement from Crosby following his own divorce. In the summer of 2016, Young told Rolling Stone that he wouldn't "rule out" future collaborations with the trio; according to Nash in a follow-up interview, "Well, he's right, you never know. There have been times when I've been so pissed at us all for wasting time and not getting on with the job that I wouldn't talk to any of them. But if Crosby came and played me four songs that knocked me on my ass, what the fuck am I supposed to do as a musician, no matter how pissed we are at each other?" Young echoed these sentiments in a January 2017 interview: "I think CSNY has every chance of getting together again. I'm not against it. There's been a lot of bad things happening among us, and a lot of things have to be settled. But that's what brothers and families are all about. We'll see what happens. I'm open. I don't think I'm a major obstacle." When queried about Young and the interview on Twitter shortly thereafter, Crosby said that Young is "a hugely talented guy" and a prospective reunion would be "fine with me." In April 2017, Nash framed the potential reunion in the context of the group's tradition of political activism amid the presidency of Donald Trump (WP) : "I believe that the issues that are keeping us apart pale in comparison to the good that we can do if we get out there and start talking about what's happening. So I'd be totally up for it even though I'm not talking to David and neither is Neil. But I think that we're smart people in the end and I think we realize the good that we can do." Influence The collective abilities allowed CSNY to straddle all the genre (WP)s of popular music eminent at the time, from country rock (WP) to confessional ballads, from acoustic guitars and voice to electric guitar, and three-part harmony. With the Beatles (WP) break-up made public by April 1970, and with Bob Dylan (WP) in reclusive low-key activity since mid-1966, CSNY found itself as the adopted standard bearers for the Woodstock Nation (WP), serving an importance in society as counterculture figureheads equaled at the time in rock and roll only by The Rolling Stones (WP) or The Who (WP). Producer Peter Fonda (WP) wanted CSN to create the soundtrack for Easy Rider (WP), but director Dennis Hopper (WP) nixed the idea. Stills' offering, "Find the Cost of Freedom (WP)" (on the flip side of "Ohio"), was the only song known to be offered for the soundtrack. Members * David Crosby (WP) – lead and backing vocals, rhythm guitar (1968–1970, 1973–2015) * Stephen Stills (WP) – backing and lead vocals, lead and rhythm guitar, bass guitar, keyboards, percussion (1968–1970, 1973–2015) * Graham Nash (WP) – lead and backing vocals, occasional rhythm guitar (1968–1970, 1973–2015) * Neil Young (WP) – backing and lead vocals, lead and rhythm guitar, keyboards, harmonica (1969–1970, 1973–1974, 1986–1988, 1991, 1999–2006, 2013) ImageSize = width:950 height:auto barincrement:30 PlotArea = left:100 bottom:60 top:10 right:50 Alignbars = justify DateFormat = mm/dd/yyyy Period = from:09/01/1968 till:01/01/2016 TimeAxis = orientation:horizontal format:yyyy Colors = id:Vocals value:red legend:Lead_and_backing_vocals id:V value:pink legend:Backing_and_lead_vocals id:G value:teal legend:Lead_guitar id:Guitar2 value:brightgreen legend:Rhythm_guitar id:Bass value:blue legend:Bass id:Keys value:purple legend:Keyboards id:lines value:black legend:Studio_album_release Legend = orientation:horizontal position:bottom ScaleMajor = increment:2 start:1969 ScaleMinor = increment:1 start:1969 LineData = width:1 at:05/29/1969 color:black layer:back at:03/11/1970 color:black layer:back at:06/17/1977 color:black layer:back at:06/22/1982 color:black layer:back at:11/01/1988 color:black layer:back at:06/26/1990 color:black layer:back at:08/16/1994 color:black layer:back at:10/26/1999 color:black layer:back BarData = bar:Crosby text:"David Crosby" bar:Stills text:"Stephen Stills" bar:Nash text:"Graham Nash" bar:Young text:"Neil Young" PlotData= width:13 textcolor:black align:left anchor:from shift:(10,-4) bar:Crosby from:start till:09/05/1970 color:Guitar2 bar:Crosby from:start till:09/05/1970 color:Vocals width:3 bar:stills from:start till:09/05/1970 color:g bar:stills from:start till:09/05/1970 color:bass width:7 bar:stills from:start till:09/05/1970 color:v width:3 bar:nash from:start till:09/05/1970 color:Vocals bar:nash from:start till:09/05/1970 color:guitar2 width:3 bar:nash from:09/05/1973 till:end color:Vocals bar:nash from:09/05/1973 till:end color:guitar2 width:3 bar:stills from:09/05/1973 till:end color:V width:3 bar:stills from:09/05/1973 till:end color:g bar:stills from:09/05/1973 till:end color:bass width:7 bar:crosby from:09/05/1973 till:end color:Vocals width:3 bar:crosby from:09/05/1973 till:end color:guitar2 bar:young from:08/15/1969 till:09/05/1970 color:g bar:young from:08/15/1969 till:09/05/1970 color:keys width:7 bar:young from:08/15/1969 till:09/05/1970 color:v width:3 bar:young from:09/05/1973 till:11/05/1974 color:g bar:young from:09/05/1973 till:11/05/1974 color:keys width:7 bar:young from:09/05/1973 till:11/05/1974 color:v width:3 bar:young from:09/05/1986 till:11/05/1988 color:g bar:young from:09/05/1986 till:11/05/1988 color:keys width:7 bar:young from:09/05/1986 till:11/05/1988 color:v width:3 bar:young from:02/05/1991 till:11/05/1991 color:g bar:young from:02/05/1991 till:11/05/1991 color:keys width:7 bar:young from:02/05/1991 till:11/05/1991 color:v width:3 bar:young from:02/05/1999 till:11/05/2006 color:g bar:young from:02/05/1999 till:11/05/2006 color:keys width:7 bar:young from:02/05/1999 till:11/05/2006 color:v width:3 bar:young from:01/05/2013 till:11/05/2013 color:g bar:young from:01/05/2013 till:11/05/2013 color:keys width:7 bar:young from:01/05/2013 till:11/05/2013 color:v width:3 Discography For individual discographies, see entries on David Crosby (WP), Stephen Stills (WP), Graham Nash (WP), and Neil Young (WP). See also Crosby & Nash (WP) and Stills-Young Band (WP) for duo discographies. Studio albums * 1969 Crosby, Stills & Nash (WP) (CSN) * 1970 Déjà Vu (WP) (CSNY) * 1977 CSN (WP) (CSN) * 1982 Daylight Again (WP) (CSN) * 1988 American Dream (WP) (CSNY) * 1990 Live It Up (WP) (CSN) * 1994 After the Storm (WP) (CSN) * 1999 Looking Forward (WP) (CSNY) Tours 1969 Crosby, Stills, & Nash Tour (WP) *Bass: Greg Reeves (WP); Drums: Dallas Taylor (WP) 1970 Déjà vu Tour (WP) *Bass: Calvin Samuels; Drums: John Barbata (WP) 1974 So Far Tour (WP) *Bass: Tim Drummond (WP); Drums: Russ Kunkel (WP); Percussion: Joe Lala (WP) 1977 CSN Tour (WP) *Keyboards: Craig Doerge (WP) (replaced by Kim Bullard); Bass: George "Chocolate" Perry (WP); Drums: Joe Vitale (WP); Percussion: Joe Lala (WP) 1978 Tour (WP) *Keyboards: Kim Bullard; Bass: George "Chocolate" Perry (WP); Drums: Joe Vitale (WP); Percussion: Joe Lala (WP) 1979 MUSE Concert (WP) *Keyboards: Craig Doerge (WP); Bass: Tim Drummond (WP); Drums: Russ Kunkel (WP); Percussion: Joe Lala (WP) 1982 Daylight Again Tour (WP) *Guitar: Michael Stergis; Keyboards: Mike Finnigan (WP) & Michael Hannah (Hannah replaced by James Newton Howard (WP)); Bass: George "Chocolate" Perry (WP); Drums: Joe Vitale (WP); Percussion: Efrain Toro 1983 Allies Tour (WP) *Guitar: Michael Stergis; Keyboards: Mike Finnigan (WP) & Kim Bullard; Bass: Kenny Passarelli (WP); Drums: Rick Jaeger; Percussion: Efrain Toro 1984 Tour *Keyboards: Mike Finnigan (WP) & Kim Bullard; Bass: Kenny Passarelli (WP) (replaced by George "Chocolate" Perry (WP)); Drums: Ian Wallace (WP); Percussion: Joe Lala (WP) 1985 Tour *Keyboards: Mike Finnigan (WP) & Kim Bullard (Bullard replaced by Craig Doerge (WP)); Bass: George "Chocolate" Perry (WP); Drums: Mark T. Williams; Percussion: Joe Lala (WP) 1987 Tour *Keyboards: Mike Finnigan (WP); Bass: Bob Glaub (WP); Drums: Joe Vitale (WP); Percussion: Joe Lala (WP) 1988 American Dream Tour (WP) *Keyboards: Mike Finnigan (WP); Bass: Bob Glaub (WP); Drums: Joe Vitale (WP); Percussion: Joe Lala (WP) 1989 Tour *Keyboards: Mike Finnigan (WP); Bass: Bob Glaub (WP); Drums: Joe Vitale (WP); Percussion: Joe Lala (WP) 1990 Live It Up Tour (WP) *Keyboards: Mike Finnigan (WP) & Kim Bullard; Bass: Jorge Calderon (WP); Drums: Joe Vitale (WP); Percussion: Michito Sanchez 1994 25th Anniversary After the Storm Tour (WP) *Keyboards: Mike Finnigan (WP); Bass: Alexis Sklarevski; Drums: Jody Cortez (WP); Various: Ethan Johns (WP) 1996 Tour *Keyboards: Mike Finnigan (WP); Bass: Gerald Johnson; Drums: Joe Vitale (WP) 1997 Tour *Keyboards: Mike Finnigan (WP); Bass: Gerald Johnson; Drums: Joe Vitale (WP) 1999 Tour *Keyboards: Mike Finnigan (WP); Bass: James Hutchinson (WP); Drums: Joe Vitale (WP) 2000 CSNY2K Looking Forward Tour (WP) *Bass: Donald Dunn (WP); Drums: Jim Keltner (WP) 2002 CSNY Tour *Keyboards: Booker T. Jones (WP); Bass: Donald Dunn (WP); Drums: Steve Potts 2003 Tour *Keyboards: Mike Finnigan (WP); Bass: David Santos; Drums: Joe Vitale (WP) 2005 Greatest Hits Tour (WP) *Guitar: Jeff Pevar (WP); Keyboards: Mike Finnigan (WP) & James Raymond; Bass: David Santos; Drums: Joe Vitale (WP) 2006 CSNY Freedom of Speech Tour (WP) *Pedal Steel: Ben Keith (WP); Keyboards: Spooner Oldham (WP); Bass: Rick Rosas (WP); Drums: Chad Cromwell (WP); Trumpet: Tom Bray 2007 Tour *Keyboards: James Raymond & Todd Caldwell; Bass: Kevin McCormick; Drums: Joe Vitale (WP) 2008 Tour *Keyboards: James Raymond & Todd Caldwell; Bass: Kevin McCormick; Drums: Joe Vitale (WP) 2009 Demos Tour (WP) *Keyboards: James Raymond & Todd Caldwell; Bass: Kevin McCormick; Drums: Joe Vitale (WP) 2010 Tour *Keyboards: James Raymond & Todd Caldwell; Bass: Kevin McCormick; Drums: Joe Vitale (WP) 2012 Tour (WP) *Guitar: Shane Fontayne (WP); Keyboards: James Raymond & Todd Caldwell; Bass: Kevin McCormick; Drums: Steve DiStanislao (WP) 2014 Tour *Guitar: Shane Fontayne (WP); Keyboards: James Raymond & Todd Caldwell; Bass: Kevin McCormick; Drums: Steve DiStanislao (WP) 2015 Tour *Guitar: Shane Fontayne (WP); Keyboards: James Raymond & Todd Caldwell; Bass: Kevin McCormick; Drums: Steve DiStanislao (WP) (replaced by Russ Kunkel (WP)) See also * The movie Celebration at Big Sur (WP) of the Big Sur Folk Festival (WP), held on the grounds of the Esalen Institute on September 13-14, 1969 References Bibliography * Zimmer, Dave, and Diltz, Henry. Crosby Stills & Nash: The Authorized Biography (First edition), St. Martin's Press, 1984. * Crosby, David, and Gottlieb, Carl. Long Time Gone (First edition), Doubleday, 1988. * McDonough, Jimmy. Shakey, Neil Young's Biography (First edition), Random House, 2002. *Nash, Graham. ″Wild Tales: A Rock & Roll Live″ (First Edition), Crown Archetype, 2013. External links *Crosby Stills Nash and Young 12-14-1969 - audio and still photos *Wikipedia:Template:sisterlinks d=Q10461933|c=category:Crosby, Stills, Nash & Young|n=no|b=no|v=no|voy=no|m=no|mw=no|species=no|wikt=no|s=no}} *Wikipedia:Template:Official *Official CSN site *Wikipedia:Template:Curlie: Arts/Music/Bands_and_Artists/C/Crosby%2C_Stills%2C_Nash%2C_and_Young/ *IMDb name|1275237 Wikipedia:Template:Crosby, Stills, Nash & Young Category:Crosby, Stills, Nash & Young Category:1968 establishments in California Category:American country rock groups Category:American political activists Category:Atlantic Records artists Category:Folk rock groups from California Category:Grammy Award winners Category:Musical groups established in 1968 Category:Musical groups disestablished in 2016 Category:Supergroups (music) Category:American soft rock music groups Category:1960s music groups Category:1970s music groups Category:Neil Young Category:American activists Category:American rock music groups Category:Supergroups Category:Rock and Roll Hall of Fame inductees Category:American folk rock groups Category:Crosby, Stills, Nash &Young Category:Music Category:Musicians Category:1960s in music